fiddlecollector

I sold this violin years ago to some state sponsored Baroque Music academy in Finland years ago. Heres some photos as of when i bought it. It was probably untouched and unopened. If i remember back was around 352-3mm.

William Smith

Not Mittenwald but Sheffield England circa 1780.

The reason the frog appears thin in the photo above is that vuillaume style frogs and vuillaume shop frogs have a chamfer on each side of the heel.

I believe copper resinate was made by reacting copper salts with venetian turpentine,also is supposed to turn almost black eventually in a thin green glaze.

Just ones that others have reported. I used it for a while and didnt have the problems so i guess its hope for the best. There are a few top makers who have/did use it. One former Beares restorer i was in contact with used a variation of rosinates and he would have had plenty of time to study classic varnishes. Not saying he thought thats what they used just that he seemed happy with results from rosinates at the time . You mention Tononi cello two post back , i havent a clue if these could have been used historically but painters did use one type. I am of the understanding that resinates/rosinates made with madder and a metal behave just like madder lakes but are of a more uniform size . So a question would be if a scientist can distinguish between a madder rosinate and a madder lake in a varnish several centuries old (both would contain pigment and resin in the oil varnish layer). The only research you ever find are in regards to old paintings containing copper resinate (green) pigment.

I thought the Fonclause was a stunning looking bow.

The two Tourte violin bows went for 125000Euros + premium and 264000 Euros + premium

As far as i know resinates like madder resinate are actually like pigments (in a suspension or sol) but formed with a resin acid part which protects them from aggregating like a normal lake would but they do cause certain problems in varnishes if used as the main part of the varnish. Experimenting with different varnish formulations can give better and more interesting results.

still has a look of pearwood to me the frog looks like boxwood with the ebony pin. Regarding the pochette , i think its a fascinating example but as `blankface` hinted at , its not easy to attribute an instrument like this to anyone in particular as i doubt they have been studied to any extent . The scroll is quite distinctive .Theres lots in museums but many are just described as anonymous with rough estimate of age. I had a quick search through the European museum database `thingy` on google and couldn`t find one looking exactly like yours.

looks quite nice , markneukirchen

For some reason on my screen it looks like aged pearwood or steamed.(just going by the areas that have been milled out for a repair . Cant imagine such a sharp bend put in by heat unless the wood was pretty` green`. But possibly as the long grain on the side of the head appears to be almost vertical following the stick length ways .Hard to tell from the images.

On looking again i wonder if the head originally had rounded chamfers at the back and someone decide to reshape the back of the head ,hence the rather crude knife cuts visible. Still cant explain the frog though maybe from another bow . Anyone else any suggestions??

Must be an Ouchard thing.Or someones tried to make it look like it. It appears a nice bow but has the appearance of being messed with possibly. I wondered if the stamped wasnt` Simon,Paris `. But frog is wrong and head style is usually a bit different.